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Survival Log
May 13, 2009
Tempest #31—3:1 Storyboard—COMMITMENT

• Begins with image of Ferdinand’s log-carrying, identical & contrastive with Caliban. This shouldn’t tilt toward an interpretation of the parallel; just let it resonate.

• This is their second meeting. Their first is entirely the shock and wonder of it; now, it’s at the stage of decision. It carries a new level of import because both are acknowledging that it’s not illusion, that it’s in the real world: Ferdinand is imprisoned; Miranda is in violation of her father’s commands.

• We should feel that this disobedience is something entirely new for Miranda. A new stage of her evolution: she too is claiming freedom.

• Prospero’s presence in this scene: His lines express nothing but joy and triumph, but I think their brevity suggest something more. Here too he’s deeply conflicted even as his plot succeeds. He’s seeing his daughter in a new way, intimately, almost as if he’s seeing her make love for the first time, or birth a baby.

• Sense of his invisibility: he’s not just concealed upstage; he’s close to them, trying to direct the scene, control it, as with T. Kantor’s presence.

• His bringing them together through must not suggest that their union is controlled by his magic spell. Their decision is their own. Key moment: Prospero takes their hands in his, as if to bring them together; Miranda instinctively brushes his hand—this outside force—aside, herself giving her hand to Ferdinand.

3.1%20-%201

• After the end of Act 1, when he angrily chastises her, Prospero addresses Miranda directly only here, when he’s invisible, and only in his first line. After that, his address is entirely to Ferdinand. He must distance himself from her to avoid the pain.

3:1—THE DAUGHTER, WHILE FULFILLING HER FATHER’S INTENTION, CLAIMS HER OWN WILL.

Shadow shifts to sea weed movement. Prospero appears in shadow UC. Makes sign as if summoning Ferdinand.

01-Enter Ferdinand, dragging in log from R to LC. Ariel appears from behind him, touches log, as if putting heavy weight upon it. Ferdinand drops it, tries at each major line to lift it, Ariel toying with him.

>>>Ferdinand: There be some Sports are painful, and their labour
>>>Sets off delight in them: Some kinds of baseness
>>>Are nobly undergone. This my mean Task
>>>Would be as heavy to me as odious; but
>>>The Mistress which I serve quickens what’s dead
>>>And makes my labours pleasures:

Lifts it to shoulder: new energy.

>>> I must remove
>>>Some thousands of these Logs and pile them up,
>>>Upon a sore injunction:
>>>But these sweet thoughts do even refresh my labours,
>>>Most busy least when I do it.

Drops it again. Ariel vanishes. Prospero makes gesture, calling forth Miranda.

3.1-2.jpg

02-Miranda enters from R.

>>>Miranda: Alas! now, pray you,
>>>Work not so hard: I would the lightning had
>>>Burnt up those Logs that you are enjoin’d to pile!
>>>Pray, set it down and rest you: my Father
>>>Is hard at study; pray now, rest yourself:
>>>He’s safe for these three hours.

Prospero shadow fades.

>>>Ferdinand: O most dear Mistress,
>>>The Sun will set, before I shall discharge
>>>What I must strive to do.
>>>Miranda: If you’ll sit down,
>>>I’ll bear your Logs the while. Pray, give me that;
>>>I’ll carry it to the pile.
>>>Ferdinand: No, precious Creature:
>>>I had rather crack my sinews, break my back,
>>>Than you should such dishonour undergo,
>>>While I sit lazy by.
>>>Miranda: It would become me
>>>As well as it does you: and I should do it
>>>With much more ease; for my good will is to it,
>>>And yours it is against.

Prospero appears UC, behind them.

>>>Prospero: Poor worm! thou art infected:
>>>This visitation shows it.
>>>Miranda: You look wearily.
>>>Ferdinand: No, noble Mistress; ’tis fresh morning with me
>>>When you are by at night. I do beseech you—
>>>What is your name?
>>>Miranda: Miranda.—

Startle from Prospero.

>>> O my Father!
>>>I have broke your hest to say so.
>>>Ferdinand: Admir’d Miranda!
>>>Indeed, the top of Admiration; worth
>>>What’s dearest to the world! Full many a Lady
>>>I have ey’d with best regard, and many a time
>>>The harmony of their tongues hath into bondage
>>>Brought my too diligent ear: but you, O you!
>>>So perfect and so peerless, are created
>>>Of every Creature’s best.

3.1-3.jpg

03-Ferdinand reaches, touches her face. Prospero adjusts her head away. They continue, as Prospero seems to echo their lines, make vague gestures as if directing.

>>>Miranda: I do not know
>>>One of my sex; no woman’s face remember,
>>>Save, from my glass, mine own: nor have I seen
>>>More that I may call men than you, good friend,
>>>And my dear Father: how features are abroad,
>>>I am skill-less of; but I would not wish
>>>Any Companion in the world but you;
>>>Nor can imagination form a shape,
>>>Besides yourself, to like of. But I prattle
>>>Something too wildly and my Father’s precepts
>>>I do forget.
>>>Ferdinand: I am in my condition
>>>A Prince, Miranda; I do think, a King;
>>>(I would not so!) and would no more endure
>>>This wooden slavery than to suffer
>>>The flesh-fly blow my mouth. Hear my soul speak:
>>>The very instant that I saw you did
>>>My heart fly to your service; there resides,
>>>To make me slave to it; and for your sake
>>>Am I this patient Log-man.
>>>Miranda: Do you love me?
>>>Ferdinand: O heaven! O earth! bear witness, I,
>>>Beyond all limit of what else i’ the world,
>>>Do love, prize, honor you.
>>>Miranda: I am a fool
>>>To weep at what I am glad of.

3.1-4.jpg

04-Backing away UC, Prospero raises his arms in formal invocation, but looks downward, unable to look at them.

>>>Prospero: Fair encounter
>>>Of two most rare affections! Heavens rain grace
>>>On that which breeds between them!
>>>Ferdinand: Wherefore weep you?
>>>Miranda: At mine unworthiness, that dare not offer
>>>What I desire to give; and much less take
>>>What I shall die to want. Hence, bashful cunning!
>>>And prompt me, plain and holy innocence!
>>>I am your wife, if you will marry me;

Sharp startle from Prospero.

>>>If not, I’ll die your maid: to be your fellow
>>>You may deny me; but I’ll be your servant
>>>Whether you will or no.

>>>Ferdinand: My Mistress, dearest;
>>>And I thus humble ever.
>>>Miranda: My husband then?
>>>Ferdinand: Ay, with a heart as willing
>>>As bondage e’er saw freedom: here’s my hand.

3.1-5.jpg

05-Sudden movement by Prospero, grasping her hand. Hold, then with great difficulty starts to place her hand in Ferdinand’s, averts his eyes. Instinctively she brushes his hand away, then grasps Ferdinand’s.

>>>Miranda: And mine, with my heart in’t: and now farewell
>>>Till half an hour hence.
>>>Ferdinand: A thousand thousand!

3.1-6.jpg

06-They draw together and kiss. Prospero hovers as if to touch them, finally averts his face.

Miranda rushes out R. Ferdinand drags log laboriously off L. Long breath from Prospero.

>>>Prospero: So glad of this as they, who are surpris’d withal,
>>>I cannot be; but my rejoicing
>>>At nothing can be more.

Prospero X to far R, to book.

>>> I’ll to my book;
>>>For yet, ere supper time, must I perform
>>>Much business appertaining.

3.1-7.jpg

07-Turns a mirrored page. He is illuminated by light from the pages, still distraught. Cries of “Ferdinand! My son!” Lightning. Black. Intermission.

•••

Back from trip East to see Elizabeth in The Clean House with Bloomsburg Theatre Ensemble, also visiting friends in Philadelphia and New York. Returning, learned that our partner theatre Sonoma County Repertory has received a $25,000 grant to support the high school tour of The Tempest.

Nearly solid on my lines for Prospero—two more weeks will make them pretty firm. Now facing the last two sculptings—Ferdinand and Miranda—then starting the serious work on set building and the endless finishing process of the heads. The show is fully cast, and I’m doing individual meetings with the actors on character and text. And Elizabeth comes home in a week.

—Conrad


Comments (1)

Hi, Conrad,

Thought you might find some of W.H. Auden's comments on the play, from his Lectures On Shakespeare, to be of interest. The book is beyond idiosyncratic and well into quirky, but is nonetheless full of insights and provocative ideas. The text of the book was cobbled together by the editor from notes taken by four of the attending students, a bit reminiscent of the methodology of some of the bad quartos. But one of the students, who later became Auden's secretary, took extraordinarily detailed notes, and these form the core of the book. Auden shows a somewhat bizarre (and usually unhelpful) predilection for list-making and the creation and enumeration of categories throughout; but he is so knowledgeable and opinionated about the plays that one reads everything including the nonsense for fear of missing something vital.

Auden says, "People have very naturally and in a sense rightly considered the play Shakespeare's farewell piece. Whether or not Shakespeare was conscious of it is irrelevant. I don't believe people die until they've done their work, and when they have, they die. There are surprisingly few incomplete works in art. People, as a rule, die when they wish to. It is not a shame that Mozart, Keats, Shelley died young: they'd finished their work."

Auden writes that The Tempest is Shakespeare's one successful attempt at writing myth. He quotes C.S. Lewis, who defines myth as being independent of words. As an example, Lewis writes that somebody told him the story of Kafka's "The Castle", and "afterwards I read the book for myself. The reading added nothing. I had already received the myth, which was all that mattered." Auden adds: "There are some famous passages of poetry in The Tempest, including 'Our revels now are ended' and 'Ye elves of brooks, standing lakes, and groves', but they are accidental. Antony and Cleopatra and King Lear only exist in words. In The Tempest, only the wedding masque -- which is very good, and apposite -- and possibly Ariel's songs are dependent on poetry. Otherwise you could put The Tempest in a comic strip."

"There is a significant parallel between The Tempest and The Magic Flute. The problem posed in both works is the nature of education." Auden develops this at some length, especially with regard to Prospero's education of Caliban. "What can't magic do? It can give people an experience, but it cannot dictate the use they make of that experience... That art cannot transform men grieves Prospero greatly. His anger at Caliban stems from his consciousness of this failure... You can hold the mirror up to a person, but you may make them worse."

"Trinculo is good-natured, Stephano is quite brave, and both lack the passion that Caliban has, the passion of resentment... Caliban is the one who recognizes that Prospero's books -- consciousness -- are the danger. 'Remember/ First to possess his books; for without them/ He's but a sot, as I am...'"

As I mentioned to you at our reading of Much Ado, I never want Prospero to give up his magic at the end of the play. But I may have to reconsider that: Auden closes his lecture with this beautiful concluding quote from Rilke's poem "The Spirit Ariel", writing of The Tempest's Epilogue:
"Now he terrifies me,
this man who's once more duke. -- The way he draws
the wire into his head, and hangs himself
beside the other puppets, and henceforth
asks the mercy of the play!... What epilogue
of achieved mastery! Putting off, standing there
with only one's own strength: 'Which is most faint.'"

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